"Dante and Shakespeare divide the modern world between them, there is no third." T. S. Eliot

The best of Western literature is considered to be the Western Canon. The list of works in the Western Canon varies according to the critic's opinions on Western culture and the relative importance of its defining characteristics.

The Western Canon is a term used to denote a canon of books, and, more widely, music and art, that has been the most influential in shaping Western culture. It asserts a compendium of the greatest works of artistic merit. Such a canon is important to the theory of educational perennialism (i.e., of everlasting importance to all) and the development of high culture. Although previously held in high regard, it has been the subject of increasing contention through the latter half of the 20th century. In practice, debates, and attempts to actually define the Canon in lists, are essentially restricted to books of various sorts: Literature, including Poetry, Fiction and Drama, autobiographical writings and Letters, Philosophy and History. A few accessible books on the Sciences are usually included.

So here’s a LIST! Who drafted it?

-Answer: the eminent American critic Harold Bloom, literatus supremus & currently (2007) a Sterling Professor of the Humanities at Yale University and Berg Professor of English and American Literature at New York University. What follows below is in fact his interpretation of the Western Canon, as presented in the homonymous book THE WESTERN CANON. I regard it as an excellent approximation of a perennial canonical Canon...!

[excerpt]

AESTHETIC AUTONOMY

I feel quite alone these days in defending the autonomy of the aesthetic, but its best defense is the experience of reading King Lear and then seeing the play well performed. King Lear does not derive from a crisis in philosophy, nor can its power be explained away as a mystification somehow promoted by the bourgeois institutions. It is a mark of the degeneracy of literary study that one is considered an eccentric for holding that the literary is not dependent upon the philosophical, and that the aesthetic is irreducible to ideology or to metaphysics. Aesthetic criticism returns us to the autonomy of imaginative literature and the sovereignty of the solitary soul, the reader not as a person in society but as the deep self, our ultimate inwardness.

MORALITY

The silliest way to defend the Western Canon is to insist that it incarnates all of the seven deadly moral virtues that make up our supposed range of normative values and democratic principles. This is palpably untrue...The West's greatest writers are subversive of all values, both ours and their own. Scholars who urge us to find the source of our morality and our politics in Plato, or in Isaiah, are out of touch with the social reality in which we live. If we read the Western Canon in order to form our social, political, or personal moral values, I firmly believe we will become monsters of selfishness and exploitation. To read in the service of any ideology is not, in my judgment, to read at all.

POLITICS

What interests me more is the flight from the aesthetic among so many in my profession, some of whom at least began with the ability to experience aesthetic value. In Freud, flight is the metaphor for repression, for unconscious yet purposeful forgetting. The purpose is clear enough in my profession's flight: to assuage displaced guilt. Forgetting, in an aesthetic context, is ruinous, for cognition, in criticism, always relies on memory. Longinus would have said that pleasure is what the resenters have forgotten. Nietzsche would have called it pain; but they would have been thinking of the same experience upon the heights. Those who descend from there, lemminglike, chant the litany that literature is best explained as a mystification promoted by bourgeois institutions. This reduces the aesthetic to ideology, or at best to metaphysics. A poem cannot be read as a poem, because it is primarily a social document or, rarely yet possibly, an attempt to overcome philosophy. Against this approach I urge a stubborn resistance whose single aim is to preserve poetry as fully and purely as possible. Our legions who have deserted represent a strand in our traditions that has always been in flight from the aesthetic: Platonic moralism and Aristotelian social science. The attack on poetry either exiles it for being destructive of social well-being or allows it sufferance if it will assume the work of social catharsis under the banners of the new multiculturalism. Beneath the surfaces of academic Marxism, Feminism, and New Historicism, the ancient polemic of Platonism and the equally archaic Aristotelian social medicine continue to course on.

ORIGINALITY

One mark of an originality that can win canonical status for a literary work is a strangeness that we either never altogether assimilate, or that becomes such a given that we are blinded to its idiosyncrasies. Dante is the largest instance of the first possibility, and Shakespeare, the overwhelming example of the second.

...and finally:

CANON OF WESTERN LITERATURE

The Western Canon, despite the limitless idealism of those who would open it up, exists precisely in order to impose limits, to set a standard of measurement that is anything but political or moral. I am aware that there is now a kind of covert alliance between popular culture and what calls itself "cultural criticism," and in the name of that alliance cognition itself may doubtless yet acquire the stigma of the incorrect. Cognition cannot be placed without memory, and the Canon is the true art of memory, the authentic foundation for cultural thinking. Most simply, the Canon is Plato and Shakespeare; it is the image of the individual thinking, whether it be Socrates thinking through his own dying, or Hamlet contemplating that undiscovered company. Mortality joins memory in the consciousness of reality-testing that the Canon induces. By its very nature, the Western Canon will never close, but it cannot be forced open by our current cheerleaders. Strength alone can open it up, the strength of a Freud or a Kafka, persistent in their cognitive negations.Here we go then...

"Since the literary canon is at issue here, I include only those religious, philosophical, historical, and scientific writings that are themselves of great aesthetic interest. I would think that, of all the books that are in this first list, once the reader is conversant with the Bible, Homer, Plato, the Athenian dramatists, and Virgil, the crucial work is the Koran....

"I have included some Sanskrit works, scriptures and fundamental literary texts, because of their influence on the Western canon. The immense wealth of ancient Chinese literature is mostly a sphere apart from Western literary tradition and is rarely conveyed adequately in the translations available to us."(Bloom, p. 531)

"It is a span of five hundred years from Dante's Divine Comedy through Goethe's Faust, Part Two [1321-1832], an era that gives us a huge body of reading in five major literatures: Italian, Spanish, English, French, and German. In this and in the remaining lists, I sometimes do not mention individual works by a canonical master, and in other instances I attempt to call attention to authors and books that I consider canonical but rather neglected. From this list onward, many good writers who are not quite central are omitted...." (Bloom, p. 534)

"I have located Vico's Democratic Age in the post-Goethean nineteenth century, when the literature of Italy and Spain ebbs, yielding eminence to England with its renaissance of the Renaissance in Romanticism, and to a lesser degree to France and Germany. This is also the era where the strength of both Russian and American literature begins."(Bloom, p. 540)

"I am not as confident about this list as the first three. Cultural prophecy is always a mug's game. Not all of the works here can prove to be canonical; literary overpopulation is a hazard to many among them. But I have neither excluded nor included on the basis of cultural politics of any kind."(Bloom, p. 548)

*[authors with asterisk* are my own "addition" to the Canon - I couldn't bear not to list them...They mean far too much to me!]